Reading Persepolis: Defining and Redefining Culture, Gender and ...

Reading Persepolis:

Defining and Redefining Culture, Gender and Genre

Tara Ann Carter

John Bartram High School

Overview

Rationale

Objectives

Historical Background

Strategies

Classroom Activities/Lesson Plans

Resources

Appendix

Overview

The cultures of the Middle East are some of the most notoriously misunderstood in

America; my students are living proof of this when they make comments such as, “He

was wearing a turban so he clearly is a terrorist.” It is my goal to create a unit in which

students will not only understand the history and culture of a far-away land but also that

they will be able to internalize and apply these concepts to their own lives, by expanding

understanding of their own identities. Embedded within this unit, students will find

access to the discussions about what generically constitutes literature as well as how

gender, narrative and culture are constructed.

As literature remains in the throes of post-modernity it is clear that form is of little

matter and content now reins king. Instead of turning a blind eye to any text not presented

in the standard chapter book form, the proliferation of alternative mediums provides a

fresh and accessible outlet to a variety of topics. What was considered suitable only for

children can provide as much breadth as the densest of tomes. What is considered

didactic is more open for interpretation as more textual forms become available. Enter

Marjane Satrapi’s Persepolis; a graphic novel bildungsroman set during the years prior to

and following the 1979 Iranian Revolution.

The use of Satrapi’s graphic novel enables students to look at the culture and

history of Iran, the culture of women and Islam in the Middle East and the generic form

of the graphic novel simultaneously.

Rationale

The graphic novel Persepolis is an exemplary tool for teaching history and literature.

This unit is designed for a 9th grade Honors Literature elective course, but is adaptable

for all high school grades. Persepolis is simply a bildungsroman put into pictures at first

glance; however, the nuances and lengths this novel takes to provide specific

commentary on history, gender, religion and war lend to an exploration loaded with

potential on many levels.

The focus of this unit is three-fold. First, there is the necessity for historical

background knowledge building as well as defining of key concepts and terms. There is

vocabulary and terminology that must be learned in order to produce a full reading of the

text. This includes not only vocabulary words from the story, but also graphic novel

terminology and key conceptual ideas such as Revolution, Marxism and Anarchy. This

will allow the students a solid background on which to build the foundation of the

understanding of the essential themes of the novel. Second, there is the necessity for clear

comprehension of the events in the novel, specifically in relation to analysis of plot and

characterization. Third, after these foundations and analyses have been created, students

will endeavor to question their own identities and notions of culture, gender and genre.

This creates a connection between their lives in Philadelphia and the lives of others in

Iran.

These three facets create an informed and nuanced understanding of the multitude

of disciplines in which Persepolis offers insight. The activities and assignments in this

unit are designed to extend the ideas from the book to the students personally, by

encouraging text to self connections.

Objectives

By the end of the unit, students will be able to:

Explain and understand basic facts about the history of Iran and the Middle East

Relate ideas of Identity and Gender from text to their own lives

Comprehend and analyze the text of Persepolis

Understand the concepts of gender and cultural narratives

Define and effectively apply vocabulary and conceptual terms

Create an understanding of Islam and the history/use of the Veil

Compare and contrast life in Tehran with life in Philadelphia

Demonstrate understand of the concept and history of Revolution

Recognize the abnormality of a feminine account of life in Iran through

comparative readings

Identify hallmarks of the graphic novel genre

Historical Background

Upon the decision to use Persepolis as an educational tool, one must pose the following

question for themselves as educator: What does it mean to teach Persepolis well?

In terms of historical background knowledge and understanding, there are two

distinct avenues that diverge in answering this initial question. One area of inquiry is

concerned with content, specifically the political history and culture of Iran; the second

area of inquiry is one of form and genre. It is in this second area of inquiry that comic

theory and the literary value of graphic novels are explored and rationalized.

Additionally, within the discussion of the history of Iran, it is necessary to

understand not only the history of Islam and the Middle East but also the history of

perceptions and Western imperialism that shapes any related topic. In other words, before

one begins any intellectual endeavor, best practices require one to first examine their own

predispositions and assumptions. The in-depth study and comprehension of these topics

in combination provide a practical breadth of knowledge for the prepared educator to

anticipate inquires and extensions required by the students and the text. It is imperative

that the teacher know the full history of Iran, as well as the full history of the book and

genre, in order to guide students toward the best and most comprehensive understanding

of the text.

An Abbreviated History of Modern Iran

In the 1920s, Iran had become dependent on economic support from Britain and other

countries, which angered many of the citizens. The loans from Britain were not of

disinterested generosity, but rather calculated to produce a profit from oil ventures. On

February 21, 1921, Reza Khan and 3,000 men marched into Tehran and “requested the

shah appoint a young civilian reformer, Sayyid Zia Tabatabi, as prime minister”

(Cleveland 185). Tabatabi was merely a figurehead; Reza Khan eventually strong-armed

out of his position and took over himself.

The public that was angered and active before the reign of Reza Shah, though

hesitant at first, came to respect and revere Reza Shah as a national icon (Cleveland 186).

The conception of the Pahlavi dynasty is said to be signaled when “Reza Shah, a former

officer in the Cossack Brigade, seized the royal crown and placed it on his own head”

(Cleveland 175). The former Qajar dynasty was dissolved in all aspects by 1925.

Reza Khan was a reformer who concerned himself with bringing Iran into the

modern industrialized marketplace. In 1935, the name of the country was officially

changed from “Persia” to the modern-day “Iran.” Reza Shah focused on revitalizing the

army, drawing on the masses of peasants for use as moldable bodies and minds. The need

to educate the soldiers in order for them to perform their duties increased literacy and led

to a focus on education within Iran as a whole (Axworthy). For a time, it appeared that

Iran was flourishing.

Then, amongst the turmoil of World War II, Reza Shah made the fateful decision

not to deport German nationals. This led to the Allied occupation of Tehran and the

abdication of the Shah; he was exiled to South Africa and remained there until he died in

July 1944 (Axworthy 230). Reza Shah’s son, Mohammed Reza came into power proving

him to be more connected to books and theories than the needs and pulse of the Iranian

people.

After a power struggle between other political factions, the shah eventually

regained power and in a measure to further modernize Iran enacted what has become

known as “The White Revolution.” The Revolution is called white because there was no

bloodshed during this transition (Cleveland 295). Agriculture, railways and ports,

literacy, education and labor organizations became the focus of the government. The shah

granted women increased rights and sought to Westernize Iran as much as possible.

SAVAK, the shah’s security service, became increasingly cunning and brutal, peaking

after the White Revolution with the Shah relying on their services to make problems

“disappear” quickly and quietly. All of these elements combined to lead to the eventual

conservative backlash in which the Revolution of 1979 was rooted. The Revolution

brought back Islamic ideals and mores, which were welcomed at first before becoming

constricting and overbearing. Iran has always been an Islamic theocracy in some fashion;

the time period after the Revolution of 1979, during which Persepolis is set, is

demonstratively one of the more severe upswings in the enforcement of fundamentalist

Islam.

It is here that Satrapi’s book begins. Knowing the topography of the political

landscape in Iran is crucial to not only understanding what Persepolis is all about but also

crucial to effectively and comprehensively educating students about it as well.

Intertwined with the history of Iran is the history of Islam. It is imperative that one is

informed on the myths and realities of Islam in order to express only truthful assertions to

students as well.

An Abbreviated History and Defense of the Graphic Novel Genre

It is a well-known fact that Art Spiegelman’s Maus changed what comics were. The

publication of Maus in 1987 signaled the public recognition of a genre that was alive,

though underground for decades prior. Maus was special because it took an issue that was

truly heart wrenching and made it (arguably) more digestible by placing it in a

metaphorical and visual context. Spiegelman’s graphic novels paved the way for Marjane

Satrapi and her decision to relay her story in the form of a graphic novel.

Since their introduction into society, comics have been considered children’s

reading material. However, in the increasingly multi-sensory world we live in, standard

black-and-white typewritten text is not necessarily the best available way to express a

concept or narrative. Since 1987, graphic novels have slowly crept into the realm of

possibility within mainstream education curriculum. Literary devices, theme, plot and

other hallmarks of “English Class” are present in the same capacity as a standard novel

and often the pictures lend to an additional level of complexity that must be deciphered.

Persepolis revisits and retells the complicated history and politics of a country in

a way that is understandable to middle-school students and above. Because the content is

accessible to children means only that it is written in such a manner that it is universally

understandable, not that the text is not appropriate for adult or college readers. Instead the

appeal of the graphic novel form is that the content counterbalances the simplicity of the

language and “help” the reader receives from the pictures. The politics and history of the

Middle East is a topic that a small minority of educated adults can intelligently relate;

therefore, if Satrapi’s book educates even one person, aged 15 or 55, then the form has

proven to be worthwhile.

Teaching graphic novels in conjunction with other various texts provides students

with the best possible type of ELA education: Multiple Literacies (Monin). The more

students are prepared to decode and figure out in different shapes and sizes, the more

successful students will be at problem-solving in future classes as well as in life. The use

of graphic novels in classroom supports this non-traditional approach to literature.

Strategies

Establishing Historical and Cultural Contexts

This unit is very deliberately designed in terms ordering the presentation of information

in such a manner that students have a firm grasp on topics such as Orientalism, Ancient

and Modern Middle Eastern History, Gender and National Identity, and Islam, before

ever embarking upon the reading of any text. Not only are students provided with the

proper vantage point for understanding the graphic novel Persepolis, but this approach to

research is an excellent model for Honors students presumed to be college-bound. This

unit seeks to provide a model for students on how one investigates and begins learning

about any given topic. It is important to stress that context is crucial for the reading of

any text, not only as a basic tenant of literary theory, but as a useful general rule in life as

well. The span of this unit is 90 days or two marking periods. The implementation of the

strategies as well as the roll-out of topics can be found in the Classroom Activities

section of this unit.

Orientalism and Media Bias Extensions

I have begun with the assumption that the Orient is not an inert fact of

nature. It is not merely there, just as the Occident itself is not just there

either. We must take seriously Vico’s great observation that men make

their own history…Therefore as much as the West itself, the Orient is an

idea that has a history and a tradition of thought, imagery, and vocabulary

that have given it reality and presence in and for the West (Said 4-5)

Oftentimes students have been so engrained with misconceptions by the time they

reach high school that it is nearly impossible to completely erase the impressions they

maintain. However, it is imperative that, as educators, every effort is made to attempt a

paradigm shift of students’ beliefs about other cultures. Teaching Persepolis works

toward this goal in a seamless and easy fashion. Students find themselves relating to a

young teenage girl thousands of miles away. Yet they still make comments about suicide

bombers and turbans.

Students need to not only understand what their prejudices and predispositions

are, but also from where these sentiments first developed. It is not until students are

educated about the core philosophical constructs of the West and the East that they can

truly begin to comprehend and evaluate themselves and the texts they are reading. To call

to attention the idea that what we think about a different culture is based on a set of

stereotypes and assumptions, often meant to undermine, is the first step in changing the

attitudes of students. In addition to challenging students’ perceptions of themselves, it is

also necessary to educate students on the reality of the representations and bias of media

outlets. Students who are educated on what a reliable news source is can better educate

themselves.

These two elements are crucial to the content taught in this unit, as they are the

foundational blocks upon which our current understanding of events in other parts of the

world rest. Understanding and educating about race relations in other parts of the world

opens up the door to the realization and understanding of race relations in the United

States. By extension, the discussion and work with ideas about race relations can also

encompass ideas about gender relations as well.

Lesson Plan Format

The lessons provided in this curriculum unit follow the seven-step lesson plan mandated

by the agreement between the School District of Philadelphia and the Philadelphia

Federation of Teachers. The seven steps are: Do Now (Warm-up or Anticipation Set);

Direction Instruction; Guided Practice; Independent Practice; Closing (including Exit

Ticket); Homework and Assessment. This format provides a cyclical feedback between

student and teacher that ensures understanding and proper comprehension of given

material. Lessons can build on one another using the Do Now as a recall of the previous

lesson or Independent Practice as a synthesis activity, combining concepts from a

previous lesson with the current day’s topic.

Before, During and After Reading Strategies

Before, During and After Reading Strategies (BDA) are extremely useful for constant

feedback while students are studying Persepolis. “Before” strategies include KWL

(know/wonder/learned) charts, historical context introductory lessons, identifying and

defining terms and vocabulary, and anticipation guides; “During” strategies include

comprehension questions, double-column journals, making predictions while reading and

character trait/action tracking. “After” strategies range from a simple multiple-choice

post-reading assessments to a research paper or debate speech. It is important to note

through each of these stages of the reading process students are constantly reading,

writing and thinking about reading and writing. BDA strategies check-in and monitor

students’ progress throughout the entirety of the text and provide pause in order for the

teacher to interject, suggest and discuss elements of previously introduced historical and

cultural contexts.

Notes and Information Organization

The nature of this topic lends to a rather lengthy accumulation of information. In order to

prevent classroom fatigue, students will record, connect and organize what they have

learned in a variety of ways. Graphic organizers are an exceedingly popular method for

students to visually layout and align what they learn. These organizers can be provided

by the teacher as a photocopy, drawn on a board for a class creation or students can copy

a template into their notebooks. Additionally, the two-column note format, sometimes

called Cornell Notes, is an easy way for the teacher to lecture while students take notes in

a guided and systematic manner. Throughout the course of this unit students will take

this style of notes on specific topics as an initial introduction to a subject. Then students

will use the notes to assist their learning and reactivate their knowledge as they explore

each topic more in depth through participation in the extension activities. All sets of

Cornell Notes will be kept in their notebooks creating a reference library for their

personal perusal.

Collaborative Student Learning

At several points throughout the unit, students will be invited to work with one another

during classroom activities. A prominent idea behind collaborative student learning

allows for students to interact on a peer to peer level and potential communicate ideas

about the subject of study in a manner different from that of the teacher. For low-level

learner the benefit lies in direct and specific feedback that is sustainably longer and more

intense than a teacher could give any single student in a normal period. For higher-level

learners, understanding and synthesis is encouraged when they are “teaching” another

student information that they have comprehended. Teaching someone else is the number

one activity that encourages thought synthesis and idea analysis.

Jigsaws take information, spilt it up in three to ten groups and require the students

in each group to become experts on their bit of knowledge and teach it back to the class.

Students who are watching each presentation take notes or fill out a worksheet to retain

and record all of the “pieces” with the idea that when students have all information the

puzzle will become clear. Jigsaws are useful in a variety of settings.

Another variation of a grouping or “information chunking” activity that require

collaboration amongst students is the more traditional station rotation. In this exercise,

student groups travel between multiple stations, each with a piece or specific topic of

information related to the whole. The exercise is the summarized by individually

answering a writing prompt which ties together the elements of the different stations to

gauge student understanding and mastery of the material.

Classroom Activities/Lesson Plans

Lesson Plan 1: Orientalism Kloze Notes and East/West iconography

Objectives (SWBAT):

Explore and examine their conceptions of life in other countries through

completion of Kloze notes and analysis questions

Evaluate their own prejudices and predispositions during self-application

Identify symbols of the East/West and speculate meaning and purpose

Do Now:

1. What prejudices do you hold? Think hard. Why do you feel that way? Where does

your negative impression come from?

2. What does it mean to be “American”? Explain in a short paragraph

Direct Instruction:

Instructor asks class: “What is prejudice?” Student voice share-out, link-in Do Now

Questions. Then, Instructor lectures as students fill in Kloze notes (See Appendix

Figure 1).

Guided Practice:

What is Orientalism? Identifying symbols from the East/West (teacher prints out

various images from Google); complete first two as a class, then students complete

remaining.

Independent Practice:

Students answer questions on worksheet about cultural perceptions, analysis

questions on Middle East, complete East/West Iconography and two short answer

synthesis questions

Closing:

What is Orientalism? What is prejudice? Where do what we think about other

countries come from? What is the East? The West?

Exit Ticket:

3 ways in which the East is depicted as subordinate to the West

2 reasons why making a group seem inferior would be useful

1 opinion of this lesson

Assessment

Student in-class questions and responses; collected worksheet; exit ticket

Lesson Plan 2: Square Peg, Round Hole Activity

Objectives (SWBAT):

Find evidence of the theme of “being an outsider” in Persepolis by completing the

Square Peg/Round Hole Activity

Do Now:

1. How is Marjane different from people around her? Explain in a few sentences.

2. Have you ever felt like no one understood you or that you didn’t fit in? Explain.

Direct Instruction:

Review Do Now. Instructor explains idea of what it means to be a square peg in a

round hole with class. Distributes worksheet (See Appendix Figure 2)

Guided Practice:

As a class, the first chapter (12) is complete with examples from the text.

Independent Practice:

Students complete remainder of worksheet individually or with a partner. Find

specific examples from each chapter.

Closing:

Why is Marjane always an outsider? Why is this an important theme in the book?

Brief class discussion follows.

Exit Ticket:

1. How is Marjane an outsider even in her own country? Explain.

2. What does it mean to be a square peg in a round hole?

3. Why do you think being an outsider is a theme in Persepolis?

Assessment

Student in-class questions and responses; collected worksheet; exit ticket

Lesson Plan 3: Revolutionaries Station Activity

Objectives (SWBAT):

Connect the idea of revolution in other countries to the 1979 revolution in Iran

through participation in Revolutionaries Station Activity

Do Now:

1. How is Marjane different from people around her? Explain in a few sentences.

2. Have you ever felt like no one understood you or that you didn’t fit in? Explain.

Direct Instruction:

Review expectations and procedures for Station activity. Explain rotation and activity

at each stop. Students will split up, go to station, review slide, fill out graphic

organizer and rotate

Guided Practice:

Students create Who/What/Where/When/Why/How Charts for each of the five

stations on notebook paper (3 sheets total needs for entire activity).

Independent Practice:

Students visit each of the Revolutionary Stations for 5 minutes. In that time, each

pupil reads the slides (see Appendix Figure 3) provided and fills out their graphic

organizer. The revolutionaries covered are Trotsky, Castro, L’Ouverture, Guevara

and the Zapatistas. At the end of the station rotations, students complete thought

questions (posted on whiteboard) on their notebook paper.

Who

What

Where

When

Why

How

Thought Questions

1. What do each of the revolutions described have in common?

2. Which revolution, including the 1979 Iranian Revolution, do you think was

the most justified? Why?

3. Is violent overthrow of the government ever acceptable? Why or why not?

4. In your opinion, what is the best way for citizens to make a change?

5. Which revolutionary do you find the most interesting? Explain.

Closing:

What is a revolution? Are revolutions good or bad? Class discussion.

Exit Ticket:

3 new things you learned today

2 reasons that revolutions can occur

1 reaction to the idea of government overthrow

Assessment

Student in-class questions and responses; collected graphic organizers and thought

questions; exit ticket

Resources

Annotated Bibliography for Teachers

Abu-Lughod, Lila. "Do Muslim Women Really Need Saving? Anthropological

Reflections on Cultural Relativism and Its Others." American Anthropologist

104.3 (2002): 783-90. Print.

A must reader for any person embarking upon a study of the Middle East. Abu-

Lughod lends legitamacy to the Muslim woman’s voice by questioning the

enforcement of Western/Christian norms upon other cultures.

Axworthy, Michael. Empire of the Mind: A History of Iran. New York: Basic Books,

2010. Print.

The history of Iran in a short (less than 300 pages) narrative form. Axworthy

explains in detail events over the course of the last three millennia that have

contributed and helped shape the culture and current status of Iran. Axworthy

positions the Iranian national character as one of intellectual sophistication and

true desire for knowledge, which he traces throughout the centuries.

Chute, Hillary L. Graphic Women. New York: Columbia UP, 2010. Print.

Chute explores how women are shown and heard in various graphic novels

including Persepolis. While this text is rather dense and geared more toward the

scholarly reader, one could still find some benefit from the perusal of the chapter

on Satrapi.

Cleveland, William L. A History of the Modern Middle East. 3rd ed. Boulder: Westview,

2004. Print.

A comprehensive history of the entire Middle Eastern region. Cleveland proceeds

from the foundation of Islam as the primary evolutionary factor in the creation of

the societies and cultures now termed the "Middle East". At times, reads like a

fiction novel; you'll be surprised when you can't stop reading.

Little, Douglas. American Orientalism: The United States and the Middle East since

1945. University of North Carolina Press, 2004. Print.

Little creates a landscape portrait of American foreign policy over the last 50+

years. Each chapter can be read independently as a mini-essay on topics related to

the United States involvement in Middle Eastern political affairs. Little does an

excellent job of extending Said’s Orientalism to specific and concrete examples

that occur within the United States to this day, including but not limited to the

deconstruction of films such as Aladdin.

McCloud, Scott. Understanding Comics: The Invisible Art. Harper Paperbacks, 1994.

Print.

The seminal discussion of “comics” in a scholarly manner. Written as a comic,

McCloud uses direct example and visualization to identify and define a common

set of terms from which most informed discussion of the particulars of comic

storytelling. Excellent for foundational research and understanding concepts

critical to teaching the medium.

Monnin, Katie. Teaching Graphic Novels: Practical Strategies for the Secondary ELA

Classroom. Gainesville, FL: Maupin House Pub., 2010. Print.

Invaluable as a teacher’s resource. This book provides both strategies for teaching

any graphic novel as well as specific activities that can be used to enrich and

completement any educator’s toolbox. Monnin focuses on laying down the

foundational aspects of graphic novels as a genre (vocabulary, design, etc.), then

provides suggestions (and reproducible graphic organizers!) for teaching the

narrative, themes and other literary elements found within any given text.

Napoli, Lisa, ed. My Sister, Guard Your Veil; My Brother, Guard Your Eyes. Boston:

Beacon, 2006. Print.

A vibrant and fresh compilation of contemporary creative voices from Iran.

Marjane Satrapi weighs in with a short discussion on the Persian Identity, which

is written in a manner that students can read and understand in order to find

perspective on what people from Iran think about Iran. Other essays expose the

daring, vice-filled underground of modern Tehran as well as markedly Western

influences proliferating in a government openly hostile to European and American

cultures. Overall, this collection is a great resource of voices and opinions about

the reality of modern Iran.

Rachlin, Nahid. Veils: Short Stories. San Francisco: City Lights, 1992. Print.

A collection of 11 short stories by Iranian-born New Yorker, Nahid Rachlin. The

stories express the inner-life of females in Iran or reflecting upon when they lived

in Iran previously. In particular “Fanatics” presents the juxtaposition of nostalgic

recollection with the violent reality of present-day Iran. There is no title-story,

which seems to suggest that the stories contained within are instead, individually,

the varied and different “veils” of the Iranian female persona.

Sacco, Joe. Palestine. Seattle: Fantagraphics, 2002. Print.

Self-described “comic journalist”, Sacco seeks to tell the multi-layer, multi-

interpreted history of the Israeli-Palestinian conflict through the eyes of the

displaced Palestinians. Relying primarily of first-hand accounts, Sacco interviews

and presents with laborious detail the story and character of the people of

Palestine. In particular two chapters entitled “Women” and “Hijab” provide

excellent insight into the feminine sentiment of a particular sect of Middle Eastern

women. The novel in its entirety is probably requires a much more involved

foundational understanding of the Israeli conflict than the average student might

hold, however, through carefully tempered selections, Sacco’s work is a great

augmentation to the very different style in which Satrapi draws and writes.

Said, Edward W. Orientalism. New York: Vintage, 2003. Print.

In this seminal study on imperialism and the Anglo desire to dominate and

systematically disenfranchise the Eastern Other, Said provides concrete evidence

as what he sees as the internalize desire to see the people and culture of the East

as barbaric, less modern, in need of White guidance/support and often times weak

or effeminate. This text is a must-read for any first time scholar of the East as well

as any person wishing to explore the underlying, and arguably unconscious,

motivations and perceptions of the modern Western peoples.

Satrapi, Marjane. The Complete Persepolis. New York: Pantheon, 2004. Print.

A graphic novel about a young girl growing up in Iran during the 1979

Revolution. The novel seeks to provide insight into what it means to be Iranian,

what is means to be a woman, what it means to be a woman in Iran and what it

means to be Iranian in the world.

Satrapi, Marjane. Embroideries. New York: Pantheon, 2005. Print.

This short graphic novel works to explore the feminine voice in Satrapi’s life

through the gossip sessions of her grandmother, friends and relatives. Discussing

taboo and vulgar issues openly exposes the reader to the inner-life of Iranian

females. Selections from this book could be used in the classroom; however, there

is discussion of adult topics not suitable for minors making use of the book in its

entirety not advisable.

Web Resources for Teachers

National Association of Comics Art Educators (NACE). Web. 30 May 2011.

<http://www.teachingcomics.org/>.

Lesson plans, conceptual and academic articles and a large variety of other

resources for bring rigor to instruction infused with graphic novels, comics, etc.

"One Book, One Philadelphia: The Complete Persepolis Teaching Curriculum."

http://libwww.freelibrary.org/onebook/obop10/teacher_resources.cfm.Web.

2/01/2011

Short and succinct curriculum with reading comprehension questions, vocabulary

and a few enrichment articles. A great base from which to begin designing one’s

own lessons.

“Picture This! Building Picture Based Writing Skills”

http://learning.blogs.nytimes.com/2010/01/11/picture-this-building-photo-based-

writing skills. Web. 2/01/2011

Useful lesson idea for students to analyze particularly striking or powerful panels

within Persepolis

“Persepolis: The Story of Childhood” http://www-av.pps.k12.or.us/doc/n00023_ad.pdf.

Web. 2/01/2011

Designed to complement the One Book, One Philadelphia Curriculum, this

writing unit provides ideas for a narrative and a research paper based on

Persepolis

“Persepolis Lesson Plans”

http://www.getgraphic.org/GG_Kits/Persepolis/Persepolis%20Lesson%20Plans.p

df. Web. 2/01/2011

General lesson plans on a brief intro to the book. Not nearly comprehensive

enough to illicit mastered understanding, but a good point from which to jump

off. Also contains links to other resources on Iranian culture.

"Zahra's Paradise." http://www.zahrasparadise.com. Web. 30 May 2011.

“Zahara’s Paradise” is a serial webcomic written in multiple languages. For

political reasons, the authors choose to remain anonymous, but do humorously

identify themselves as “as Arab artist and a Jewish editor”. Their comic, which is

currently released in semi-regular installments, explores issues related to current

Middle Eastern events as well as providing commentary on Iranian culture during

the aftermath of the 2009 elections.

Suggested Reading for Students

Moaveni, Azadeh. "Sex in the Time of Mullahs." My Sister, Guard Your Veil; My

Brother, Guard Your Eyes: Uncensored Iranian Voices. Ed. Zanganeh Lila.

Azam. Boston, MA: Beacon, 2006. 55-61. Print.

Rachlin, Nahid. "Fanatics." Veils: Short Stories. San Francisco: City Lights, 1992. 1-20.

Print.

Satrapi, Marjane. The Complete Persepolis. New York: Pathenon, 2004. Print.

Satrapi, Marjane. "How Can One Be Persian?" My Sister, Guard Your Veil; My Brother,

Guard Your Eyes: Uncensored Iranian Voices. Ed. Zanganeh Lila. Azam. Boston,

MA: Beacon, 2006. 20-23. Print.

Appendix

Figure 1 - Orientalism Kloze Note Activity and Key

Orientalism Kloze Notes

Orientalism is a (1)_________________ in which the (2)____________ is made to seem

(3)__________________and in need of help. Men in the East are portrayed as (4)____________,

(5)____________, (6)___________ and (7)____________. Women are viewed as (8)_________________

with (9)_________________________ or education. These portrayals of people in other parts of the world

are a result in a (10)_________________________. These views are spread and compounded by

Literature, art, history books, magazines and news. Over many years, these skewed views then become

accepted as (11)_____________________ and engrained into society. It is then that the people buy into

(12)________________________________ and taking over another group of people because it feels as if

they need help because of the misrepresentations. This is what Orientalism is all about. It is the thinking

that (13)_______________ and the West are better than other countries, mostly because the culture and

way of life in those countries are different. It is (14)_________________ and (15)_________________ to

assume that one way of life is better than another. Instead of believing what you have been told to be

“generally” how a group of people are you must seek to find the (16)___________________ and

(17)_____________________ in each person regardless of where they are from. It is only then that

(18)___________________ and (19)____________________ of any time can be (20)_________________.

Kloze Notes Key

Orientalism is a system of thought in which the “East” is made to seem inferior and in need of help to be

saved. Men in the East are portrayed as weak, lazy, stupid and girly. Women are viewed as slaves with no

rights or education. These portrayals of people in other parts of the world are a result in a skewed view.

These views are spread and compounded by Literature, art, history books, magazines and news. Over many

years, these skewed views then become accepted as fact and engrained into society. It is then that the

people buy into dominating and taking over another group of people because it feels as if they need help

because of the misrepresentations. This Orientalism is all about. It is the thinking that America and the West

are better than other countries, mostly because the culture and way of life in those countries are different.

It is arrogant and rude to assume that one way of life is better than another. Instead of believing what you

have been told to be “generally” how a group of people are you must seek to find the individuality and

humanity in each person regardless of where they are from. It is only then that stereotypes and prejudices

of any time can be stopped.

Figure 2 - Square Peg/Round Hole Theme Lesson Worksheet

Figure 3 - Revolutionary Station Slide Samples

Che Guevara

• Born June 14, 1928

• Died October 9, 1967

• From Argentina

• While studying to be a doctor,

Che traveled around South America and was shocked by

the poverty he found throughout the region

• This lead him to become

politically active and seek reform through Socialism (the

father of Communism)

• He was captured with help of the US and executed for being a

revolutionary

Che Guevara

• Born June 14, 1928

• Died October 9, 1967

• From Argentina

• While studying to be a doctor,

Che traveled around South

America and was shocked by

the poverty he found

throughout the region

• This lead him to become

politically active and seek

reform through Socialism (the

father of Communism)

• He was captured with help of

the US and executed for being a

revolutionary

Francois-Dominique Toussaint

L'Ouverture

• (pronounced Fra n-swa h

Dominique To -saunt Lo- ver-

tur)

• (May 20, 1743 – A pril 6,

1804)

• w as the lea der of the

Haitian Revolution. B orn in

Saint-Doming ue, Haiti,

T oussaint led enslaved

blacks in a long struggle f or

independence over French

colonizers, abolished

slavery, and secured

" native" control over the

colony, Haiti.

Francois-Dominique Toussaint

L'Ouverture

• (pronounced Fran-swah Dominique To-saunt Lo-ver-

tur)

• (May 20, 1743 – April 6,

1804)

• was the leader of the Haitian Revolution. Born in

Saint-Domingue, Haiti, Toussaint led enslaved blacks in a long struggle for independence over French

colonizers, abolished slavery, and secured "native" control over the colony, Haiti.

The Haitian Slave Rebellion

At the time Haiti was owned by the British government and

the orginal inhabitants of the island were forced into

slavery. Toussant kicked out the commissioner as well as

the army, then, invaded Santo Dom ingo (the capital city) to

free the slaves there, and wrote a Constitution naming

himself governor-for-life that established a new regime for

the colony.

The Haitian Slave Rebellion

At the time Haiti was owned by the British government and

the orginal inhabitants of the island were forced into

slavery. Toussant kicked out the commissioner as well as

the army, then, invaded Santo Domingo (the capital city) to

free the slaves there, and wrote a Constitution naming

himself governor-for-life that established a new regime for

the colony.